terms of incorporating other energy sources? >> well, that's certainly a challenge. and i think, though, that most of these are costs which we should be willing to bear. i think, first of all, the private sector should and can and will play an active role in deploying these new forms of energy. but i think there's a role for the federal government to encourage them as well. and i think in the last couple of years we've seen some progress along these lines, but it's going to take a lot more at least given right now what looks like the demand not only in the united states, but in the rest of the world. and if we don't do it, we're going to see prices for energy skyrocket, we're going to see america at the mercy of producing countries who are exporting to us our energy, and they can put us in a politically difficult position. and, of course, if we don't address these issues, we'll have growing environmental challenges
as well. so what the book tries to show is a pathway forward to address all of those. fortunate l i -- fortunately, i think, there is. but it will take will and tough decisions, and we've been unwilling to make those tough decisions the last few years. .. lots of energy. they wanted cheap energy but they didn't want anybody to either make it or use it around
them. you can't do that. at the end of the day as a country we have to the grownups about this and say yes, it would be terrific if we could have all the energy facilities somewhere else, but we need them to be deployed on a broad basis and i do address that in the book. i don't profess to have a solution to convincing americans that they ought to do this but i think the more we explain the consequences of not allowing projects to go forward the will see the benefit to our country. >> have you found resistance is along party lines or is that more kind of a myth? >> the not in my backyard resistance is universal. it knows no party or region or other kinds of boundaries. and it has grown in recent years. that is not surprising because the country has gotten larger.
the population has increased. we need more power and as a people, in the history of mankind almost every major new innovation tends to be dependent on new supplies of energy. we all marvel at the high-tech revolution of the 1990s and since, but that revolution is largely driven by electricity. the electricity manufacturer that ships components of computers, the electricity needed to operate laptops and pcs. all of this, that is the challenge because the sentiment that we need to rant of the amount of energy available which in turn meant more plants and transmission lines has met more public resistance. >> thank you for your time. appreciate it. >> coming up, yunte huang discusses the police detective
chang apana and the effect of the fictional character charlie chan. his book the untold story of the honorable detective and his rendezvous with american history was named a national book critics circle award finalist for biography. yunte huang speaks in d. g. wills books in california. this is close to an hour. [applause] >> thank you very much. i really want to thank d. g. wills for hosting this event. secondly i want to say i am happy to be back in california. some of you may know that i have been visiting cornell university. i really miss calif.. i remember when i first moved to santa barbara seven years ago from massachusetts i was sitting
on the beach every day. i thought i was coming to california to be a writer but i ended up having writer's block for two years. slowly but surely the land of raymond chandler and mcdonald's grew on me. when i began to look at the landscape through the lens of this detective writer, even orange grove acquired a language in which i felt at home. but tonight i am going to talk about another detective, for him, i don't adjust seat calif.. i see america. i am going to read a very short excerpt that will take five minutes and i am going to talk
anywhere from ten to 15 minutes and before returning to reading another very short excerpt there should be enough time for q&a. the piece i am going to read first takes us back 100 years in history. on july 9th, 1904, a man sauntered alone through the deep alley's from honolulu's shantytown. at five feet tall, with a ramrod straight back, the man was wearing trousers and a half. a pair of dark glasses and obscured him. the upper left blackened by burned books gave the impression he needed a shave. from a distance it was unmistakably chinese barely distinguishable as he walked among the shuffling form of his
countrymen. the hot weather which piled breakers high and sapped the spirit out of every living being had departed the island by sundown today dental trade wind blowing in from the northeast had brought renewed energy to the city. local boy was plucking soft tunes on his ukulele perhaps down on the moonlit beach not far below the street fringed with coconut palms and licked by the lazy surf. when a serenade paused, a minor gave out a clear throated cry ruffling its plumage beneath the canopy of a perfumed night. under the moon, the china man reached a corner of smith street in the heart of chinatown. he took his place on the docking street where restaurants had signs scrolled in the language. they had shuddered doors much earlier but one nondescript
building where he saw a light escaping through an upstairs window. there was a flicker of the corner of his mouth. he drew a deep breath. the night air was motorists and lingered from the oil walks and salty tang of the pacific win. for through the front gate he stepped cautiously inside the building and passed by the doorman undetected. he did the same in the next three doors each guarded by someone and linking him deeper into what seemed like a maze of chinese boxes. up the rickety stairs to the second-floor he turned packed with gamblers, all chinese humming of games of craps. the air was a mix of smoke, ringing with curses, cheers and the sand from the gentiles. he observed this through his dark lens. someone looked up and
immediately recognize the face of the infamous person his name elicited shutters from the spine of honolulu criminal. before the crime dropped aground, besides the blip uncoiled like a hissing rattlesnake from the detective's waste. one quick snap of the whip and a room froze like a gambling hall diorama. wooley crowds of cigarette smoke still wavered, afterthoughts of exploded firecrackers. not sure where to settle in the deafening silence. many have already heard of an even tasted the might of this unusual weapon wielded by the former person. resist arrest would be futile even though they knew he had brought no bankrupt. his what had spoken louder than any law or gun. the china mint the edsel locals lined up the gamblers, 40 in all
and marches and out of the room to the police station. not a single shot was fired. his real name was chang apana. an officer of the honolulu police department he acquired a more fascinating moniker, charlie chan. his voice would one day draw the attention of novelist pearl vickers. from 1925 onward. late total of six novels and 47 films in addition to radio programs, newspaper comics and fortune cookie witticisms would make charley and the fictional double, one of the most iconic cultural icons in america. has some of you may know who have read the book or the reviews out there will know that in this book i am trying to tie up several loose ends each of which is a story.
. as charlie chan would say, truth, like football, receives many kicks before reaching the goal. in order to solve the charlie chan mystery i need to give it this a football truth several kicks. with each kicked, hopefully gaining the different yardage if not mileage. the first kick is of course the story of the real charlie chan, chang apana. this hawaiian cowboys. to tell his story very briefly he was born in hawaii around 1871. his father was a laborer who came to work on a plantation. at the age of 3, he went to china with his parents. he grew up in the same factory as the founding father of the republic of china who also came
of age later on in honolulu. they overlapped. at the age of 10, chang apana came back to hawaii with his uncle. he became a cowboy and worked on ranches, joined the police force in 1898 just when hawaii was annexed by the united states. he immediately became a local legend because as a police officer he would work the most dangerous beats in chinatown carrying a bullwhip that he had made himself. he was a master of disguise. actually the first undercover cop for the department. he could single-handedly as i read in the prologue arrest 40 people without firing a shot. as the son of labor.
if we could reduce the nineteenth century, he was really a man who would have stood no chance and yet he made a name for himself and became the inspiration for the fictional charlie chan. the second story in the book is about earl bickers. to me that is coming from china another amazing american story. this young but guy from ohio with no family connection and yet he managed to get into harvard and became a best-selling author. he was born in ohio, in 1884 and his parents actually had to borrow money to send him to harvard. he did pretty well. he joy and lampoon, signy a club and advocate and all these
societies and after he graduated he went to harvard in 1903. this overlaps with t.s. eliot. after he graduated from harvard his first job was as a police reporter for a newspaper. he was almost immediately fired because they found out he was a much better storyteller than a journalist. especially in a police matter where you made up stories. in a strange way we really have to thank him for holding such high standards of journalism. otherwise there may not have been charlie chan at all for that matter. so the door of opportunity swings both ways. this is america.
so a bigger turn to the writing of the novel after he lost the job, his first important book was a mystery novel published in 1913. as a writer he had a thing for key. for the title. for first charlie chan novel, the house without a key and later, keeper of the key. so the success propelled him to the national limelight but he was in an overworked and had to take a vacation in hawaii and was on the beach of waikiki as the story goes that he first came up with the idea of a charlie chan novel. is the first charlie chan novel, the house without a key was not strictly a charlie chan novel.
the detective does not appear until 1-third into the book and he really started out as a minor character like the third man, the china man but obviously his charm was irresistible and as soon as the book was published readers clamored for mort charlie chan books in which the character, detective would be a central character. therefore, the charlie chan dynasty began in 1925. this is the first tale in the book about the making of the iconic china man. we could say the timing of charlie chan's birth could not have been any better or worse depending on how you look at it because in 1924, the year before then the united states had just
passed the infamous johnson reacts, the empire negotiation bill which was targeting the irish, southern europeans, eastern europeans and all asians said there was a turning point and american culture when the country literally closed its door to the so-called foreigners and there you go. one lovely sunny wisecracking foreigner stumbling on stage. why is that? despite the fact the 20s was the most phobic era in american history some people may argue today is actually another one, despite that, america always had this long lasting love for the orient or for asia. you can recall people like henry adams, those who went to japan
and china and brought back everything from the orient. so it was in the air. therefore charlie chan was born in this very strange period lindsay no phobia would tie together in many ways and hollywood, we can never forget hollywood or have enough of it which had just begun to grab the lion's share of american popular imagination. very soon what i would call the charlie chan bandwagon, this is a kind of little known fact that the first actor who played charlie chan in decided film era were asian. two japanese and one korean. but somehow they did not have
enough star power to make the character a success. especially the last one. the movie behind the curtain, in that movie, if you forgive my hon charlie chan literally fell off the picture because this 1-hour film charlie chan appears for no more than a minute. it wasn't until the great british actor who made a name for himself in 1927 in al jolson's if the jazz singer in which he played a jewish cantor, the father who had one word speech in vol movie which is stop or something like that, and after that the whole movie, that was the first talkie made in hollywood and the minute he said stopped and the movie went back
to silent mode. it was an interesting moment. p they name for himself played a jew and also played chinese villains. dr. philip issue, before he was picked to play charlie chan. so between 1931, land 1937, before he drank himself to death he made 16 charlie chan novels followed by winter's. altogether there were 47 films out there. everyone has a favorite. my favorite still is:the. very serious about playing charlie chan. what i call this yellow face performance. he studied chinese literature,
read up on -- he studied chinese language and read up on chinese literature philosophy and art and everything. he was so good at his performance so when he went to shanghai in 1936 he was mobbed by journalists. people called him charlie chan. at a news conference on his arrival in shanghai he was actually able to deliver a few lines in chinese and although he still was doing this charlie chan kind of performance he was so honored to be back in my hon. homeland and so on, so the cottage industry or chinese cinema at the time began to crank out its own homegrown charlie chan films and unfortunately, these chinese knockoffs have been lost but
according to contemporary accounts the chinese actor who played charlie chan in these chinese knockoffs imitated him almost in all aspects. we are talking about a somewhat bizarre frontier of yellow face in many ways the the real china man was imitating an imitation of a china man. such acts of racial ventriloquism in which a white actor will play an asian or native american or black character, this is racial ventriloquism. especially this kind of yellow face. became a release for the issue in the reception of charlie chan as we all know.
especially after the civil rights movement and asian-american protests in the 60s and 70s. and charlie chan has been somewhat taboo for many asian americans for many good reasons. that is the period when american children were still seeing these jump rope songs like china man sitting on a fence or neighborhood kids would come to you if you're in a neighborhood and to charlie chan imitations, so those memories are really painful and impossible to erase but we also have to understand that is also a period that charlie chan's image was tarnished and i will explain why. in that kind of -- right after world war ii.
the last charlie chan movie when it was being shown around the country in the summer from 1949 there was also the moment when americans were mourning the loss of china because that was the end of chinese civil war. the nationalists and communists. the communists fig back and defeated those in were supported by the united states. unwisely may be. i don't know. i am sorry. when mao announced on october 1st, 1949, the founding of the people's republic of china. that was the moment as if the whole continent of asia was being swallowed up by the red sea. after that, that cold war propaganda and anti-communist paranoia for charlie chan to continue to wisecrack in that poisoned air. that is when all things chinese
would take on negative and in city is connotations. many of you will remember in any film noir movie you always find a character with a charlie chan mustache and dubious chinese name hollering in the background. there's a famous example roman polanski's chinatown. the punch line at the end of the movie was forget it. it is chinatown. meaning anything will be in serious and negative. there is a reason charlie chan became a very problematic character. on the one hand of the cold war mentality and the other the racism against asian-americans. there is a very good reason at
that point out that a famous asian american writer announced in 1993 that charlie chan is dead. there is a very good reason for that but somehow charlie like a calf with 9 lives has lived on and i don't really think we can explain his longevity in american culture by simply referring to the persistence of racism. i don't buy that argument. to me is essential charm was being a hilarious wisecracking -- he reminds me of one who hides his weapon. charlie chan hides his weapons inside his sizable tully. his so-called inscrutability,
close negative stereotypes against asians is they're incredibly, right? but charlie chan's inscrutability is really asian humor in disguise. for instance, jimenez be as nasty as others things like when she steps on a scale is to be continued or your mother is a stupid she sold her car for gas money. they are never so nasty but sometimes they can be very insulting. for example, the black camel, 1929 a movie made in 1931, charlie chan was handled in a murder case in which there was a white british suspect who was complaining of being handled by a china man. he was saying why can't they send a white man out here? why am i being handled by a china man and charlie chan was offended and he said the man who
is about to cross the stream sean not refile a crocodile's mother and the guy said what the mean by that? he can be very insulting the. speaking of aphorisms as, every meal at a chinese restaurant in america inevitably with fortune cookies, i will read -- as a conclusion to my rambling. i will frame and by saying at the end of the book i include about 50 charlie chan -- these are $20 a laugh. in order to get permission to print this i had to pay $1,000 for a bag of 50 but i am offering them to you free.
here we go. actions speak plotters then fringe. at night, all cats are black. biggest mistakes in history are made by people who didn't think. big head is only a good place for very large headache. caution, very good life insurance. even wise flies sometimes mistake spiderweb for bold man ice creams and the next one is my favorite. every maybe has a wife called maybe not. favorite pastime of man is fooling himself. a fool and his money never become old acquaintances. the full questions of this. the wise man questions himself. front seldom tell truth to know
facebook. perfect case like perfect done that has a hole. police do not read emily post. they should have the bumper sticker on the back of the police car for that matter. the secret is to talk much but say nothing. smart fly keep out of gravy. some heads like hot and not much better if welker act. i usually put it on my syllabus for my students. talk cannot cook rice. time only wasted when sprinkling perfume on goat farm. to no forgery one must have the original. kind often heyman quicker than rope. trouble, like first love, teach many lessons. kind of sweet. after dinner speeches are
equipped with -- i have fudged cookies. no one has to give a speech. we have cookies in said. a nice way to end dinner. this next one is really true. when money talks, few are deaf. when searching for a needle in a haystack, haystack only sensible locations. in a way i have been searching for this kind of a needle in a haystack and i hope i am in a sensible location for that matter. so thank you very much. [applause] >> i have a two part question. about the difficulties that you
encountered attempting to verify whether mr. biggers have actually discovered something in the new york public library reading room from honolulu newspaper and second could you describe the circumstances under which he and chang apana finally met in honolulu. >> the first remains a mystery. he made many claims. especially this one. he claimed to have come across a newspaper article, in an obscure corner about this detective but the saying is when you cut and at the honolulu police department, the letter written by the assistant director or something, they checked the record, it is impossible that biggers would have come across that newspaper item as i put in
the book. that claim is probably as fishy as the fifth ace on the river. as for the second question can you remind me again? >> the circumstances under which he finally met chang apana in honolulu. >> he wrote a number of charlie chan novels before he eventually met up with chang apana which is a great historical meeting. he immediately sent an invitation to meet him on the second day of his arrival and honolulu in july of 1928. the meeting took place in this great historical place, the royal hotel which is a distinct palace. they met up and they took
pictures together. unfortunately the picture that was released to the press later on was not a picture of biggers with chang apana. essentially biggers with a standing charlie chan hula suspect was actually a bellhop from the hotel whose chinese who looked a lot more like charlie chan because by that time chang apana was kind of old, wrinkled man who has no resemblance to this character in the novels. so we have a stand in instead. i have those pictures in that book and you can compare why is there this -- which is more real? like they say in -- if you remember the hanna-barbera later on, the recreations of charlie chan, few have the real charlie
chan please stand up. that is my question. will the real charlie chan please stand up? which one is real. >> former chairman of the literature department at san diego state university. thanks for the presentation. i have a couple of questions first about charlie and the second about you as a writer. the one about charlie is they all appeal to intellectuals. they were interested in asia, were they alive my guess is they would have no interest in charlie chan. yet charlie chan was enormously
popular in the 20s and 30s when asians of all sorts there was enormous prejudice people still working class people particularly, despised them. yet these are great popular culture things, both biggers's novel than the movies. how do you explain that popularity with ordinary people? >> i will come back when you read the second part of a question. it is true. maybe i should explain it by saying the moment, the time when a stumble upon charlie chan novels was 1994 as a graduate student, i found these two charlie chan novels. i took them home at $1 each and
was immediately hooked. but i should say that was also the moment when i was working on my translations of ezra pound into chinese. when i was studying images of modern poets who exactly like joan or these high class elitist kind of writers who have a thing for asia. charlie chan and as rep pound, their contemporaries. we are talking about american culture high and low. a couple of bias but also a fondness for the exotic. basically we are not talking about elite but also popular. a few had a second question. >> he was a writer.
there is a third narrative that is in your book that you didn't mention in your talk and that is your story. a kind of literary spend on new journalism all away through. won on marvel that, is a marvelously well written book and people are going to read it who have no particular interest in charlie chan but just want to read a really well-written book. how did a boy who grew up in a small village in south beach, china, the shell of the ability to right this very engaging
literary prose? it is just a marvel. >> thank you very much. you want me to explain? >> yes. >> i don't think it was easy. >> i agree with you. i grew up in a small town in southern china and learned my english by listening secretly to voice of america. was a dangerous thing to do when i was growing up because it was illegal. i could have sent my parents to jail. one day i was playing when i was 11, playing this transistor radio that i got from my sister who got it from my grandfather's and suddenly i came up on this point where in a manly slow voice in english rank out, this is the voice of america broadcasting in special english
because it was special english. it is tokens lower. about two thirds of the pace of normal english. therefore nonnative speakers can try to follow. so i started picking up english from their well also studying, learning more from this radio program and then i went to university as an english major. it was 1989 that dashed my hopes for my own intellectual future in china. so i came to america. i learned of all places in alabama. i just came back from their. i tried -- it was a real story of why alabama. simply starts with a. when i went -- when i made up my mind to leave china after i graduated i went to library and in the reference from picked up
peterson's guide to u.s. colleges and universities and alabama was the first state and i was looking for opportunities. i couldn't try to get into harvard because it would be difficult. i was looking at financial aid and stuff. it looked very decent to me. so i gave it a shot and succeeded. suspend three years there in tuscaloosa, alabama. generally have loved it because it is great to be there. i just came back from there when i was sharing the story. one member of the audience said i don't believe that you would come to america just because alphabetically we are the first. strange things do happen. then i went to buffalo. it is kind of difficult to work
my way through this language that was not my own. still not my own in many ways. one thing that to learn through writing this book, i wrote myself into an american because i started as a non citizen. it was in the process of writing this book. it took me two years, research in. it was a long affair over a decade but when i decided to write a book it was in the process of writing this book and looking at the kind of racism america used to have against chinese, it is a history of the chinese experience in america and to meet charlie chan is the key in a way for me to understand what is going on to chinese-americans or asian americans, bad and good. it was in the process of writing
this book i finally realized america does have a lot of problems, racism especially but still a great country. that is when i decided i am going to become a u.s. citizen and i did. thank you. >> as chang apana was a real homicide detective we are honored tonight to have members of the law enforcement community here. and officer bill swing and has a question. >> thank you. i agree with the professor. your story of coming to america is as fascinating as any story you told in your book. look at the audience you are talking to today. it is predominantly white. and we are and older grew too. we remember charlie chan from when we were kids and obviously
we loved him. what has been the reception because i have read many fine reviews of your book in mainstream media. what has been the reception in the chinese community? because i also listened to an interview with a man named chin. he might be described as an angry guy. i felt that your book did a very good job telling both sides and you can across very reasonable. i would like to know what the reception has been in the chinese community please. >> thank you for a great question and you are referring to that point interview i did with tom daschle broke when frank was invited as a guest for hamas and of great respect. and devoted three pages of the book, that chapter to is writing. that is why i brought up the 50s and 60s how painful that memory
is an impossible to leave a. in a way i had to reconcile my feeling is bleaker still my fondness for this character unlike many of you may have with the really painful experiences to explain why that is the case. there are a number of ways but to answer your question first i just came from los angeles where i did a book signing. we have great turnout was chinese-americans. they love the book as well. some may have problems with it but overall the reception has not been so hostile. i am pleased to knows that. on the other hand i think one of the problems is this. just like i said. after the 60s, 70s and 80s, charlie chan's death knell was
sounded so there was this banon charlie chan films so the younger generation have not gotten a chance to take a second look. for good reasons the inheritance is critical to the legacy of charlie chan. this critical view of charlie chan but they have not gotten a chance to look at his films. this is something lamentable about american culture today and part of the reason i wrote this book. america is great. of the other hand we have a lot of races in down there in contemporary culture and cultural representation in films. but somehow we cannot talk about racism and culture openly without shouting or yelling or more likely staying angry quietly. to me it is a lamentable fact. i am hoping with this kind of character despite the fact he is
controversial. is a good beginning point for us to talk about racism in american culture openly in a democratic way. i hope i answered your question. >> thank you for a beautifully written book. i have a couple questions the level try to keep simple answer to my notes. >> everyone has two. [talking over each other] >> maybe not. >> as more asian-americans are prominent in politics and business do you think it is reflected in film and television providing leading parts as opposed to supporting roles which usually see like what you were talking about, for asian americans in films and also simple question, is there a
stereotypical american character for asians comparative to charlie chan and if so is he or she seen in a positive light or a negative light or as an amusing character? >> thank you. racial casting has always been a problem for hollywood. everything from the get go. that is why we have a swedish actor playing a jewish character and the chinese character or you name it. this is always part of these kind of racist legacy of hollywood by american culture at large. to me charlie chan is this kind of mixture and embodiment of those. on the one hand kind of a racist legacy but on the other hand kind of creative genius of imitating the other. as aristotle would say imitation is human nature. that is how hard came about. imitation of the other.
we talk about this most vibrant part of american culture, this mixture of the two. you point out the new version of hawaii 50 with daniel king as the new character, they're really hoping, great actors, like one who is not allowed to play a leading role exactly because of the racism. one of my great friends, john young, has a poem. i can't remember the poem really well but i remember the title really well. no one wants a kid because it is not allowed because of the production code. you can not kiss a white man so she cannot play that. to go back to the second question, absolutely. we have jackie chan, did leave
all the way from bruce lee to the contemporary. charlie chan is sort of an alternative image for agents, especially men. the misunderstanding americans have about asian men or asian people in general is they're just inscrutable. we can't understand them. charlie chan is the asian humor in disguise, that is when you understand. so on the one hand you have the pension for -- with just leave, bruce lee and jackie chan, and two together i am hoping that finally we can't have this kind
of good image. >> question from someone who just returned from oxford university. >> have a confession to make that i have never heard of charlie chan before. i am not a literary person. i take a lot of interest in that. talk about racism, i have been in this country for 25 years and i find a lot of chinese find they are dominating the field. going back 30 years ago from sunny. do you think the kind of racism you are talking about only exists in media or does it sort of spill over to other areas of
life? >> i can't really answer your question directly because we have to cover all the fields. that is why it is great we can begin to talk about racism, to ask these questions whether in this field or mathematics. a china man dominating the field or why. are those kids really great pianists? we don't know. whether it is a racial or cultural thing or just a bias, so with charlie chan we can at least begin to talk about these issues openly. the most insidious thing about racism is we know we have racist views but we don't talk about them. we act on it. if i can talk to you then racism might become an open problem and
we can solve it. a confrontation, the avoidance, the fact the we have to stay quiet or especially with charlie chan, either it is really funny or just bad, a stereotype. that is my central mission. if there is an essential mystery, i want this question, how can it be that a character so love for being funny is simultaneously hated? that is my question. in other words what does it say about race and culture in america? that is the question i want to ask. how can it be? that is why i go all the way back 100 years or 150 years to described the arrival of chinese or asians to this country and what they have gone through but also when charlie chan appeared in this critical moment of american culture and how he
became well accepted and went downhill and disappeared. that is why not many people will have heard of him or have seen the movies at several. that to me is quite unfortunate because some critics asked me are you celebrating racism? because you seem to suggest charlie chan is this kind of vibrant part of american culture because there's racism. without racism he would not be as good or -- of course not. i you kidding me? of course not. we need to acknowledge the fact that the toxic soil of racism somehow out of this toxics will that this artistic flower
blossoms. without the pain the racism of slavery, imagine what it would be, what jazz is going to be and talk about -- a great place to ask question about the knicks etc. without these things from the east. cultural infusion. what would american culture be like? i don't know. can you imagine that? >> unlike antelope's question. you live in a memo's china and bush's america. 20 years ago i had a korean history professor who said china has never been the aggressor in any conflict outside its borders. my question is with the writing on the wall that china will be
the new world leader is there hope for you that there will be a better job behaving in other ways? >> they really have a question for me to answer. i can't really say or maybe i can. living in now's. . i was born in 1969. i had a small part of the cultural revolution. my father couldn't go to college because family history is bad because his grandfather was a landlord. even with me, in the early days of elementary school i went through some difficult times because of my family history for
that matter and that was the last straw on the camel's back for that matter but i love china. i am chinese. is impossible to forget. my family back there, my parents are back there. coming to think about america, it is a lamentable fact that given the great political structure the personal it was democracy. you have it here. but even with that kind of opportunity that somehow things we cannot talk about openly, that to me is a lamentable. >> earlier i asked about the circumstances under which biggers that chang apana. now i would like to ask about a circumstances surrounding the
meeting between warner olin and chang apana and particularly the circumstances that produced chang apana's laughing out loud when warner:referred to a lie detector when referring to the making of black camel. >> ted is a great story. the making of the black camel, the film in 1931. there was the first on-site location of any of the charlie chan films because finally 20th century fox realist we are going to spend more. ..